“If the postmodernism of the 80s was right in that all new
art also reminds of old art, then the converse argumentwould be that past art is only perceivable as such if it appears through new art.“

Florian Schmidt creates paintings out of wood, cardboard,
canvas and colors that are actually objects. Someare roughly assembled with staples, others radiate with classic elegance. Similar principles hold true for theobjects, which are like drawings petrified to sculptures. Both are based on an open, playful system, in whichthat which is left out seems as important as that which is present, set by the artist.He
consciously and virtuosicly utilizes the picture language of the Russian avantgarde, the De Stijl, perhapsalso elements of Zero. Therefore
it is not surprizing that when observing the works, an echo of past names,places, manifests and artworks is
perceptible.

At Åplus, he reduces his exibition to two large-sized
paintings. The surfaces of both are compounded bydifferent geometrically cut boards and both are restrained in their colors.

The two works act as a bracket in theexibition room and point to an empty center.The empty space between the two paintings is taken up by theviewer, who activates the paintings analogous to the movement of a pendulum.